There’s no such thing as Latin American art:
But there is a great history of geometric abstraction in the region, and a tendency toward a lyrical abstract calligraphy that resolves swiftly into words and human forms.
Here are some fun things, both modern and contemporary, on view at Pinta, the modern and contemporary Latin American art fair in New York this weekend:
From top: Antonio Asís, Geometrie libre No. 2010, 1965, at KaBe Contemporary; Abel Barroso, Cada Historia Tiene Su Color, 2012, at Pan American Art Projects; León Ferrari, Untitled, 1990, at Pan American Art Projects; León Ferrari, Untitled, 2007, at Pan American Art Projects; José Gurvich, Hombre Construido en Rojo, 1961, Museo Gurvich; Douglas Rodrigo Rada, Preludo, 2011, at Nube Gallery; Chiachio & Giannione, Birth, 2010, at Yael Rosenblut; Sebastian Errazuriz, Lámpara de lágrimas, 2012, at Cristina Grajales.
Bleeding for Art, Gangsta-Style:
For the piece, the artist cuts her tongue with one stroke of a knife blade. In a movement painterly and dancerly, she drags her tongue across the wall, using it as a brush and using saliva and blood as her paint.
The work, part of the Performa Biennial, is in Radical Presence: Black Performance in Contemporary Art, a groundbreaking exhibition that’s being shared by the Studio Museum and NYU’s Grey Art Gallery.
Norris created the work, in part, as a reaction to a professor’s criticism that she “did not paint” as an MFA student at Yale.
Although the artist read no manifesto, curator Valerie Cassel Oliver writes in the catalogue, “it was clear that she was challenging the practice of painting, the art academy, and the canon of art history, and she was doing so gangsta-style.”
The Semi-Secret History of Modernism’s Best Comic Artist
Only one modernist leveraged his mass-produced comic art not as a “day job” but as a full-fledged, yet separate dimension of a larger aesthetic enterprise.
That was Ad Reinhardt.
The master of the iconic, reductive Black Paintings was a virtuoso of white-out fluid, paste-up, and Photostats.
Reinhardt was on staff at the progressive tabloid P.M. between 1942 and ’47, producing several thousand cartoons and illustrations over the course of his career.
For ARTnews, he produced several double-spread collages about the art world that retain their power as works of satire, data visualization, and timeliness. (Like the category “Artist as Poetartcritic Raw Divining-Rod Tool.”)
A new show at David Zwirner explores the links between Ad Reinhardt’s identity as abstract painter and as cartoonist, satirist, crusader, explicator, and slide-show maker.
Read more at artnews.com.
From Top: How to Look at a Good Idea, P.M., August 4, 1946. ©2013 ESTATE OF AD REINHARDT/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; COURTESY DAVID ZWIRNER, NEW YORK/LONDON. Foundingfathersfollyday, ARTnews, April 1954. ©2013 ESTATE OF AD REINHARDT / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. A Portend of the Artist as a Yhung Mandala, ARTnews, May 1956. ©2013 ESTATE OF AD REINHARDT / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. Our Favorites, ARTnews, March 1952. ©2013 ESTATE OF AD REINHARDT / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK.
#artselfie heaven: Who needs a filter when you have Yayoi Kusama?
Took the interns to preview the artist’s new show at David Zwirner, where the concept of infinity and beyond becomes a lot more literal.
We chased our reflections in Love Is Calling, a candy-colored concoction of mirrors, metal, sound, light, and more.
Infinity Mirrored Room - The Souls of Millions of Light Years Away, is Kusama’s newest infinity room. We entered in small groups, and the door closed behind us. Then we were captured in a sea of L.E.D. lights, and a carousel of time.
Optical Allusions: Modernist Art Refracted Though Iran’s Mirrored Shrines
In a hybrid language where East meets West, and Pop and Op come filtered through the sublime patterns of the mirrored glass shrines of Shiraz, Monir Shahroudy Farmanfarmaian creates her dazzling refractions.
The artist, now living in her native Iran after years in the States, took classes at Cornell and Parsons, befriended the Abstract Expressionists, studied with Milton Avery, and collaborated with Warhol.
Seeing the Shah Cheragh Shrine in Shiraz, which she visited with Robert Morris and Marcia Hafif in 1966, was transformative for Farmanfarmaian. A champion and collector of local fok art, she forged a personal language that infuses traditional forms of reverse-glass painting with geometric and gestural abstraction.
Now around 90, Farmanfarmaian maintains an active career. A show of her recent work just opened at Haines Gallery in San Francisco. She also has five pieces in Iran Modern, at the Asia Society in New York. One is a small mirror she exchanged as a gift with Andy Warhol.
Read more in “Ten Tough Women Artists Who Stand Up to the Bad Boys,” at artnews.com.
From Top: Monir Shahroudy Farmanfarmaian, Untitled, 1977, mirror, reverse-glass painting and plaster on wood. COURTESY ZAHRA FARMANFARMAIAN. PHOTO JOSHUA SAGE. Monir Shahroudy Farmanfarmaian, Untitled, ca. 1975–1976, mirror, reverse-glass painting, plaster, and wood. PRIVATE COLLECTION.
The Body Electric
The show, organized by Elena Filipovic, brings together four postwar artists who probably didn’t know each other, or even of each other, but were united by a sensibility that draws equally on attraction and repulsion.
Szapocznikow, Tetsumi Kudo (from Japan), and Americans Paul Thek and Hannah Wilke rejected the reductive, arch sensibilities of Minimalism and Pop for a deliberately anti-heroic sculpture, abject and visceral, that was crafted with new, experimental materials and infused with sexual candor and dismembered body parts.
(From Top): Alina Szapocznikow, Lampe-sculpture, ca. 1970, tinted polyester resin, light bubble and power supply cable. ©THE ESTATE OF ALINA SZAPOCZNIKOW – ADAGP PARIS. Hannah Wilke, Untitled, ca. 1960s, painted terracotta. HANNAH WILKE COLLECTION & ARCHIVE, LOS ANGELES. ©MARSIE, EMANUELLE, DAMON, AND ANDREW SCHARLATT/LICENSED BY VAGA, NEW YORK, NY. Paul Thek, Untitled (Dental Plate #3) from the series Technological Reliquaries, 1966-67, wood, plaster, paint, porcelain, and Plexiglas. ©ESTATE OF GEORGE PAUL THEK. Tetsumi Kudo, Your Portrait, 1963, mixed media (wood, plastic). ©ADAGP, PARIS & ARS, NEW YORK. COURTESY OF HIROKO KUDO.
All By Her Selves
Eleanor Antin, the shape-shifting artist who helped bring narrative and fantasy to performance, is in the spotlight this season, along with an entourage of her alter-egos. At Columbia University’s Miriam and Ira D. Wallach Art Gallery, “Multiple Occupancy: Eleanor Antin’s ‘Selves’” surveys various identities—including a deposed king, ballerinas, nurses and an exiled film director—that the artist created and embodied between 1972 and 1991. As Antin put it, “I consider the usual aids to self-definition—sex, age, talent, time and space—as tyrannical limitations upon my freedom of choice.”
On November 9, as part of Performa, the performance art biennial, the Wallach presents “An Afternoon with Eleanora Antinova (a.k.a. Eleanor Antin).” The artist will read and discuss excerpts, some unpublished, from the memoirs of her invented character Eleanora Antinova, the long-suffering African American ballerina of Diaghilev’s Ballets Russes. On November 12, Antin will appear in conversation at Performa with her sometime collaborators, Malik Gaines and Alexandro Segade, members of the collective My Barbarian. They’ll chat about the theatrical devices performance artists rely on to twist and transform identities.
Read more in “Ten Tough Women Artists Who Stand Up to the Bad Boys,” at artnews.com
(From Top): Elenor Antin, Nurse Eleanor, R.N., 1976/2007 (detail), iris print with business card. COURTESY THE ARTIST AND RONALD FELDMAN FINE ARTS. Elenor Antin, “Men” from The King of Solana Beach, 1974-1975 (detail), five black and white photographs mounted on board. COURTESY THE ARTIST AND RONALD FELDMAN FINE ARTS. Elenor Antin, The Two Eleanors, 1973, black and white photograph mounted on board. PRIVATE COLLECTION.
The fall lineup–Balthus at the Met, Magritte at MoMA, Chris Burden at the New Museum, Robert Indiana at the Whitney, Robert Motherwell at the Guggenheim, and Mike Kelley at MoMA PS1–makes it seem as though the bad boys are not the artists, but the people who program the city’s art museums with a depressing consistency of race and gender.
There’s some good news, though. Women might be finally getting credit for cave painting, for one thing. Also, the feminist sensibility is alive and well in other art venues, if you know where to look.
Here are two examples: Wangechi Mutu, whose show Fantastic Journey is at at the Brooklyn Museum, and Renaissance painter Artemisia Gentileschi, whose most violent and famous painting, Judith Slaying Holofernes (ca. 1620), is on loan from the Uffizi to the Art Institute of Chicago.
Meet the rest of the “Ten Tough Women Artists Who Stand Up to the Bad Boys” at artnews.com